The Warners
by Nate Collins
Summary: After being locked in the Water Tower for more than a decade, the Warners are finally released only to realize how much life has really changed without them and plan to attempt the world's greatest comeback ever to an unfamiliar crowd.
1. Prologue

"The Warners"

Screenplay

By

Nate Collins

Based on "Animaniacs",

Characters Created By Tom Ruegger

and Television Show Developed and Produced By Steven Spielberg

Note: The following is the prologue for the upcoming fan fic I will be writing called "The Warners" which will be about the Warners' return to the Warner Bros. Studio and hopefully the world for the first time in ten years. This is an idea I came up with when I was writing "Buster & Babs" but didn't exactly know how to do it until I got the inspiration while writing "No More Miss Nice Bunny". This was originally conceived as a trilogy and was going to be in continuity with the last two that I had written but because I wouldn't be able to say everything I wanted to say, I dropped the trilogy idea and turned it into a stand-alone. What you will read will pretty much be my take on the Warners' back story and how everything will click in once I start writing the rest of the story. I apologize if the Warners sound a bit serious during their interviews and if my Sweden information is a bit off since I've never been. I don't know when I'll get back to this story since I'll be a bit busy at the moment but hopefully it'll be sometime this year and will probably finish the rest of it either before or after the year ends. So for now, I hope you enjoy this and I hope you all look forward to reading this little epic that I'll soon be continuing.

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><p>PROLOGUE<p>

Static, followed by a ten-second black-out complete with old VHS wrinkles and ruins. The screen turns completely black as a small sign appears on the bottom left corner.

"The following broadcast was taped live on April 4, 2000".

The broadcast begins as the news jingle is heard and a logo involving the old-fashioned Looney Tunes rings and a globe of the world making its way towards the center of the rings forms.

ANNOUNCER: This is ACME News.

CUT TO:

INT. ACME NEWS BROADCAST

A neatly attired anchorwoman is professionally seated as the camera focuses in on her and the lights turn on.

ANCHORWOMAN: Good evening, I'm Caroline Houston. Our top story tonight, the Warner Brothers and their sister Dot have been locked back into the Warner Bros. Water Tower for the first time since their escape in 1993. If you're not familiar with the Warners or have been living under a rock for the past decade, here's the back story.

We cut to a montage of black and white cartoon footage from the 1930s of the Warners; YAKKO, the oldest of the three, wearing his pants up to his waist, WAKKO the middle one wearing a turtleneck and cap and DOT who dons a skirt and a sunflower tied to her ears. Their noses brightly colored red even though everything around them is in gray scale. Photos of the following people and locations are also visible in the mix as the anchorwoman continues narrating.

CAROLINE HOUSTON: The Warner siblings, appropriately named Yakko, Wakko and Dot were first created in 1929 by animator Lon Borax in the original animation department called "Termite Terrace" where such beloved cartoon characters as Bugs Bunny, Daffy Duck and Porky Pig were also originated. Once they were let loose, they were immediately discovered by animation director Weed Memlo and then-President of Warner Bros., Thaddeus Plotz. After only thirty seconds of watching them work, they immediately had them sign a four-cartoon deal with Warner Bros. and thus began the Warners' career. Unfortunately, Lon Borax was not available to celebrate this joyous occasion due to his missing state at the time. He now spends the remainder of his life in a home for retired animators.

We show footage of Lon Borax inside his cell of the HOME FOR RETIRED ANIMATORS (WHO WENT NUTS!) sitting on his bed with his arms around his legs and rocking back and forth.

LON: That's not right. I don't know. Are they dogs? Monkey? Insects? I can't take it any longer! I gotta find out!

Anyway...

CAROLINE HOUSTON: What began as four cartoons quickly evolved into ten, twenty and so on. They made such cartoons as their surreal debut, _Flies in the Ointment_, _Ragamuffins_, their first sound picture _Babblin' Bijou_, the infamous Wakko directed _Yankee Doodle Warners_ and even a propaganda film to promote the Second World War.

We cut to an old interview with director Weed Memlo as he discusses what it was like to work with the Warners, dated: August 11, 1993.

WEED: Those kids were such a pain to work with. I mean, you got Yakko arguing with the writers, Dot always requesting five hour make-up schedules and Wakko would always eat up the scenery. And I mean literally eat it!

CAROLINE HOUSTON: But Weed wasn't the only one complaining, here's what other directors had to say about them.

Cut to a few past interviews from other directors who have worked with the Warners before and comment on them. The first one is a bit from an interview with director STUBBY WINKER dated: April 8, 1986.

STUBBY WINKER: The Warner Brothers? What's there to say? They were crazy, nuts, look those words up in the dictionary and the Warners will come out as your definition. I worked with them in a cartoon once. _Of Warners and Men_ I believe it was called. I gave them all scripts to look over and in five minutes, Yakko had the only one available. Dot somehow lost hers and Wakko ate his. They couldn't get any of the scenes right and it literally took us 57 takes each scene to finally get it. Boy, was it was exhausting. And let me tell you, looking at it back now, I'm beginning to think that half of those outtakes weren't accidental.

CUT TO: A clip from a PIZ PEENERS interview dated: October 17, 1991

PIZ PEENERS: Ah, the Warners. Where do I begin? Well, how about the fact that they kept making fun of my name? Every time I go to the set, they would either pop out of my coffee or out of my fridge or out of my sink and would make some funny comment on my name, Piz Peeners.

We hear the interviewer trying to hide a laugh as it tries to come out of his nose.

PIZ PEENERS: Stop it! It's not funny!

CUT TO: A clip from a Rory Kipton interview dated: September 13, 1990.

RORY KIPTON: I directed what is considered to be their most expensive cartoon ever made. It was _Lost and Found Horizon_ back in 1938 and I still remember it like it was yesterday. I had the biggest sets ever built and almost everyone in Hollywood that was big at the time was in it and boy, did those kids really take advantage of it. You had Yakko and Wakko going gaga over Greta Garbo and Marlene Dietrich. They would always whistle at her and say something like, "Helooooooooo- [hacks, coughs] Well, you know what I mean. As for Dot, she wouldn't leave Cary Grant alone or one minute. If you watch the cartoon again, you can see an entire shot where Dot keeps staring at him. Seriously, we had to spend some of the budget on guys with crowbars in order to get Dot off of him.

CAROLINE HOUSTON: After the war ended, the demand for more Warner Bros. cartoons began to go up. Unfortunately, cartoons involving Bugs Bunny, Daffy Duck, Porky Pig and Sylvester and Tweety wound up with more demands than any other cartoons. Because of this, the company had to let go a few of the lesser known stars such as the Warners, Buddy, Bosko and Honey and even Slappy Squirrel. Fortunately, Slappy was the only one who was able to find work elsewhere doing cameos for other films and eventually, commercials for television in the 50's. As for the Warners themselves, they tried finding work elsewhere but without success due to fact that no director at the time would work with them. Due of this, they were free to roam around the studio as they pleased much to the disappointment of Mr. Plotz.

CUT TO: An old interview with Thaddeus Plotz dated: June 3, 1994.

THADDEUS PLOTZ: [sighs] Those were the worst seven years of my life. Those kids turned this studio into a lousy insane asylum. They chased tourists and filmmakers all throughout the lot, they halted productions, meetings and lunches, it was a nightmare, I tell ya! I think Yakko and Wakko went after a few show girls or whoever was big at the time, I don't know. I don't keep track of these things very much now. But I do know Dot was worse because she went after John Wayne and Dana Andrews and I think even Cary Grant for quite a while. Oh, and it got worse once we reached the 50's.

INTERVIEWER: How?

THADDEUS PLOTZ: How? They almost halted production on _A Streetcar Named Desire_! Now you look me straight in the eye and tell me that's not a crime! Something clearly had to be done! So a year later, I hired this security guard, Ralph and had him capture the Warners and lock them up in the studio water tower and the good news is that I had it Perma-sealed so they could never escape. After that, I wanted to make it look like the Warners never existed to begin with. So I had all of their old cartoons locked away in a vault never to be released.

Since this is coming from an aged video, the image shifts a bit as the next shot comes in. Probably due to a commercial break that occurred somewhere between there.

THADDEUS PLOTZ: After we had locked them up, we realized that we would have to let them out of there sometime because the would have to be fumigated for termites every now and then. So we decided that every decade, we would let the Warners out for one whole day.

While Thaddeus is talking, the screen starts showing pictures of the Warners doing things from the certain decades that they were in such as attending the Woodstock concert and dressing up like hippies, attending a screening of _Star Wars_, entering a disco competition and volunteering in the tearing of the Berlin Wall.

THADDEUS PLOTZ: We would have no track of them or where they would go and what they would do but we knew that they would always come back the next day. But once we reached the 90's (gulps), it happened.

We cut to an old black-and-white security recording showing the Warner Bros. Water Tower standing in the background of the studio lot.

CAROLINE HOUSTON: Here in this rarely seen tape dated July 1993, we see from such a brief distance the Water Tower flooding from the inside and collapsing, thus releasing the Warner trio for good.

As she talks, the stationary camera shows the tower slowly beginning to leak from the giant shield. The top quakes as the pressure begins to rise. The screeching turns violent then suddenly, BAM! The shield busts open as a giant wave of water floods over the lot with tourists, actors, filmmakers, etc. running for their lives. We then spot the Warners surfing their way down towards the lot through the massive flood.

YAKKO: Cowabunga!

Each of the Warners individually ride pass the camera with the image turning to static as the last thing we see is a giant close-up of Wakko's mouth opening up.

CUT TO: News footage recorded that same day featuring up-and-coming cartoon stars Buster and Babs Bunny discussing the incident.

BUSTER: It was a disaster, I tell ya! It was overblown and everyone went crazy!

BABS: Yeah! Like the premiere of _Heavens Gate_!

CUT TO: Porky Pig.

PORKY: I was in the m-m-mid-mid-middle of filming a c-c-c-com-commercial for Nike when all of s-s-sudden the t-tower just exploded and out came these the three d-d-d-dogs. Or maybe they were rabbits. No.

CUT TO: Footage of studio psychiatrist, Dr. Otto Scratchansniff.

OTTO: [with a thick German accent] I've been vorking at the Varner Brah-ters studio as a psychoanalyst for over fifty years. When I saw vat happened to the tower, I vas immediately called by the chairman of the Vah-ner Brah-ters Studio and told me get the Varner Brah-ters and their sister under control. I svear, he hasn't been this mad since he greenlit _Exorcist II_. [sigh] I should've known vat I vas getting myself into.

Yakko followed by his other two sibling then pop into frame and begin messing about.

YAKKO: Ooh, what'cha doin', Scatchy? An interview? Is this thing on? [pokes camera mic]

DOT: Can I sing? I've been practicing. Watch. [ahems] And IIIIIIIIIIIIII-

The Warner brothers all cover their ears and give the signal to cut it to the camera. Heck, even Otto starts cover his ears. Just as Dot begins her ear-screeching note holding, the screen goes to static and the Off Air signal appears on screen.

CUT TO: More interview footage, this time of a well known director with pictures incorporated in.

SPIELBERG: When I heard what happened at the tower, I was really excited. I mean, I had always been such a huge fan of their old cartoons, even when they weren't showing them anymore. I then get the idea to have the studio make more cartoons. I went up to them and told them about it and I'm assuming they approved of the idea because the next thing you know, they started kissing me and began bouncing up and down. Weird.

CAROLINE HOUSTON: The studio went with the idea and the trio signed a contrack with Mr. Plotz to begin making more Warner cartoons.

THADDEUS PLOTZ: I know I tried to make it look like they never existed in the past but I've learned my lesson since and I figure that those three need to make a comeback big time. And I still need to keep making money somehow. Money, money, money.

CAROLINE HOUSTON: In fact, the producers even went back to the old vault and had many of the old cartoons pulled out to be remastered and re-released to the public. Once they reached the public, the Warner Brothers and their sister, Dot were immediately back on the map. Even ex-cartoon stars were impressed by their sudden return.

CUT TO: Interview footage of Slappy Squirrel.

SLAPPY: Once I saw that those three were back and making more cartoons, I knew I had step out of retirement so I could make more myself. What? You think its fair that an old has-been stay at home in her couch all day long while every other has-been is out there making a comeback. Anyway, I pressured Warners to get my old contract out and get me making more cartoons. Oh, and under the condition that I had my new nephew Skippy co-star with me. Isn't that right, Skippy?

She turns around and sees SKIPPY limping out of the hallway dressed in his pajamas with his brown fur sticking out in every direction.

SKIPPY: [yawns] What time is it?

SLAPPY: Ain't he something?

CAROLINE HOUSTON: For the next five years, the Warners were stars of a new generation of cartoons such as _The Three Muska-Warners_, _Hooked on a Ceiling_, _A Hard Days Warners_, _Draculee, Dracula_ and the Wilbur Award winning _King Yakko_. Yakko himself even contributed by writing and composing what is now considered to be one of the most memorable songs they've ever done.

A piece of an old clip is shown showing Yakko with a graduation cap on and pointing at a map of the entire world. I don't have to tell you what he's singing since you all know this one by heart.

YAKKO: [singing] United States, Canada, Mexico, Panama, Haiti, Jamaica, Peru,

Republic Dominican, Cuba, Caribbean, Greenland, El Salvador, too.

Puerto Rico, Colombia, Venezuela, Honduras, Guyana and Still,

Guatemala, Bolivia, then Argentina and Ecuador, Chili, Brazil.

Costa Rica, Belize, Nicaragua, Bermudas, Bahamas, Tobago, San Juan,

Paraguay, Uruguay, Suriname and French Guiana, Barbados and Guam.

CAROLINE HOUSTON: Because of how successful the shorts were, the studio had absolutely no intention of pulling the plug. That is until mid-November of 1998 when Thaddeus Plotz had been accused of illegally extending his presidency at Warners for the past fifty years.

A newspaper of the Hollywood Reporter comes flying at the screen with the headline reading "PRESIDENT OF WARNER BROS. BOOTED OUT OF OFFICE".

CAROLINE HOUSTON: [continues] Because of this, he was forced to back down as chairman and Jimmy Fellner, who was then just a worker at the company and never had much experience was forced to take his place. Once Plotz stepped down, the Warners' contract as well as Slappy Squirrel's immediately became null and void meaning that further plans for upcoming cartoons were scrapped and abandoned. Fearing that they would be thrown back into the tower, the trio desperately tried finding work elsewhere again with no luck. Then suddenly, Wakko gets an idea.

Image once again shifts as we next cut to clips from a rare interview with the Warners that's a bit more serious than it is funny. The first clip just shows Yakko and Dot sitting on a couch answering a question to the unseen interviewer.

DOT: I think it hit Wakko the most because he was just getting used to the idea of being famous again for the first time in years.

YAKKO: So right after we head back to the tower and called it, the first thing Wakko did was pull out his gag bag, got a flashlight and notepad out and just started writing the entire night.

DOT: How many notepads did he have written out?

YAKKO: About fifty, seventy. Somewhere around there. Seriously, the floor was nothing but notepads.

CUT TO: A sole interview with Wakko.

WAKKO: [with an odd Liverpool accent] We head back home after hours of trying to find a job and I remember looking at the stars and I managed to spot a shooting star flying past the tower and it just hit me. I then spent the entire night doing nothing but writing. You should've seen how my hand turned out afterwards.

CAROLINE HOUSTON: The next day, Wakko managed to compress his ideas into a five page outline and tried to convince Fellner to greenlight his idea for a feature length film. Not only did he ask to write it, but to believe it or not, direct it. After only five minutes of reading and without a single script written yet, he greenlights the idea.

CUT TO: Interview of JIMMY FELLNER, a young man in his 30s that pretty much looks like your usual stereotypical businessman complete with square glasses.

JIMMY FELLNER: Not long after I took office, I noticed that the department was running a bit low on cash due to all the flops that the studio kept releasing. I mean really, just look at these. _Journey to Excalibur_, _Felines Can't Waltz_, oh and the utmost classic, _Intergalactic Jelly_. [shudders] So I really needed a feature that could help bring this company back to life. I was also betting on another film, something about a boy and a giant robot. Iron something. Honestly, I can't remember.

CAROLINE HOUSTON: Wakko spent the next month writing out the script with a few of the writers who had previously worked on the new Warner cartoons. He then spent another month looking over the musical work and even lend a hand in co-writing lyrics for the songs. After two months of hard work, the script was finished, the songs were composed and on January 1999, the screenplay entitled _Wakko's Wish_ went into pre-production.

CUT TO: The Warners interview.

YAKKO: We didn't knew anything about the story until the second he finished it. Then he literally crashed back into the tower and had us read it individually.

DOT: Yeah, I remember my reaction.

CUT TO: A quick flashback of Dot reading the script while Wakko is busy writing the shooting schedule on a notebook.

DOT: [shouts] What? You kill me off?

WAKKO: Keep reading.

Dot turns the page. Skims a bit. Turns another page.

DOT: [calm all of a sudden] Oh. Never mind.

Back to interview.

DOT: I liked it. Thought it was cute.

YAKKO: The first time I read it, I cried. Honestly, I did and I'm not supposed to cry! I'm supposed to make other people cry. Of laughter, that is. So anyway, I then had a long talk with Wakko telling him how much I enjoyed it and how much luck I wished him.

CAROLINE HOUSTON: For the cast, Wakko managed to get as many of his closest friends and fellow actors to be in the movie such Dr. Scratchansniff, Ralph the Security Guard, Slappy and Skippy Squirrel and even Thaddeus Plotz himself. Once everything was set near the end of January, the cast and crew traveled to Sweden and thus, production on _Wakko's Wish_ began.

CUT TO: An interview with Wakko on the set of _Wakko's Wish_ wearing a wrinkled blue turtleneck with a scarf around his neck and his red cap with a piece of cloth sewed on top.

WAKKO: Sweden is perfect. I mean, we're able to get all the snow we wanted, the sun's always shining so we won't be able to freeze to death. And the best part is, since I'm the director, I get to eat all the pickled beets and sausages I want.

We close out and reveal Wakko holding a plate loaded with pickled beets and sausages. He picks a beet up and plops it into his mouth.

CAROLINE HOUSTON: Filming finished in May, post-production in October and _Wakko's Wish_ was finally ready to be presented. Unfortunately, the advertising industry was a bit confused when trying to promote it.

CUT TO: Jimmy Fellner interview.

JIMMY FELLNER: We saw the finished project, and we didn't know what to advertise it as. A musical? A comedy? A dark fantasy? What?

CAROLINE HOUSTON: It didn't help much either that the final release date for the film was scheduled on the same week as a few other anticipated movies that other companies were going to be releasing.

JIMMY FELLNER: All the release dates were taken. We didn't know where else to put it. We wanted a December release so we just had it sandwiched between some film about a mouse and some football film our studio had just put out.

CUT TO: Warners interview.

YAKKO: When we found out about the release date, we were how you say, not pleased. That's why Wakko's not joining us right now. If anyone's ticked about this, it's most likely the director.

CAROLINE HOUSTON: The film premiered on December 21, 1999 and while it didn't have the audience that the company had expected, it nevertheless received positive reviews from many film critics.

While Caroline is talking, the screen shows many of the film's reviews such as "One of the best films I've seen this year." - Joel Siegel. "Once you've seen the film and notice who the director is, you'll be pleasantly surprised." - A.O. Scott. "While it may touch darker tones than the Warners are known for, it doesn't take away the magic that this film really does project." - Roger Ebert.

CAROLINE HOUSTON: Although the film was loved by critics, the audience had a different set of opinions with some saying that they loved it while others were completely turned off by the fact that it took a much more serious and darker route than anything the Warners had ever done. Still, that didn't stop the film from being nominated for nine Wilbur Awards at the 62nd Annual Animation Awards Ceremony held on February 7, 2000. It wound up winning only three for its score, art direction and what was most surprising...

A clip from the ceremony is played. An actor who looks a little like, oh wait. Never mind, it is Tom Hanks is opening the envelope to reveal the winner.

TOM HANKS: And the Wilbur goes to... Dot Warner for _Wakko's Wish_!

CAROLINE HOUSTON: Dot Warner for Best Female Toon in a Leading Role.

Dot stands up, hugs her brothers and proudly walks towards the stage to accept her award. Oh, wait a minute. First she kisses Tom Hanks cartoon style, then snatches the prize off of his hands and approaches the podium.

DOT: Wow. I guess those acting lessons really did pay off.

Audience laughs.

CAROLINE HOUSTON: [continues] Although Wakko Warner was nominated for the screenplay, Director, Male Toon in a Leading Role and Best Animated Film, he failed to win any and the major awards wound up going to _The Iron Giant_. Afterwards, Wakko refused to talk to anyone on his reaction to losing.

CUT TO: Yakko talking to some of the news anchors on the awards reaction.

YAKKO: I think had the film gotten a bettter release date, it would've gotten a much better response. But then again, that's just me.

CAROLINE HOUSTON: Unfortunately, it got worse. Because the film was a financial flop, only raising $8 million of its $30 million budget, and due to the other flops the studio had made, the animation studio went haywire and was closed down just recently on April 2nd. Sadly because of this, the Warner Brothers and Sister had no other choice but to stay locked back into the Water Tower for a good while.

CUT TO:

INT. ACME NEWS BROADCAST

We are now back to where we started nine pages ago, with Caroline wrapping up her top story.

CAROLINE HOUSTON: And that's where our story ends. Not a particularly happy ending but then again, that's life for ya. Now the final question on our minds is, "Will the Warners ever return?" Unfortunately, we don't have an answer for that yet but in the mind of this anchorwoman, unless they continue to fumigate the tower every ten years, then we can only hope so. For Acme News, I'm Caroline Houston. Good night.

CAMERA backs away from the anchorwoman as the lights begin to go down and the news jingle starts up again. The image begins to get blurry and turns to static once again. It then shuts itself off like someone turning the television off.

**TO BE CONTINUED...**

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><p>Please favorite this story so you can continue to follow along once I get the first act ready to go. Oh, and feel free to comment on this.<p>

P.S.: I'm still working on the story so if any of you have any ideas that you would like to contribute to, then please feel free to P.M. me. Thank you.**  
><strong>


	2. Ratings

"The Warners"

Screenplay

By

Roberto Espinosa

Based on "Animaniacs",

Characters Created By Tom Ruegger

and Television Show Developed and Produced By Steven Spielberg

Note: Hello, hello, hello everybody and welcome once again to "The Warners". To those of you who have been SOOOO patient to wait for so damn long for a new chapter, I swear it'll be worth the wait. To those of you who lost their patients months ago, well, you won't know what you're missing then. Again, I am SOOOOOO SORRY for keeping you all wait so long for a new chapter but there is a reason and it ain't laziness or any of that. Here's the thing, in the time last semester ended, I switched interests in shows going from "Invader ZIM" to "My Little Pony: Friendship is Magic", I worked on an 138 feature length screenplay called "Stan" about a boy and his imaginary friend and I wrote a short story about a man who remembers his deceased girlfriend on Christmas eve. So yeah, I've been more than a little busy lately. I've also been recently helping another author on this site with a "My Little Pony" fanfic he's currently writing with editing and even doing a read-aloud series on YouTube. Well after this chapter's done, I'm gonna take about a week to start doing a timeline, a character sheet, etc. cause I'm really trying to get this story back on track so you all can enjoy it properly. Well, for now, I hope you enjoy this fanfic that is literally two years in the making as of now.

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><p>RATINGS<p>

FADE IN

EXT. WARNER BROS. STUDIO – LOT – MORNING - TWELVE YEARS LATER...

The sun is rising over the lot of the Warner Bros. Studio. Cars slowly pull up to their stationary parking spot, people are holding coffees in their hands as they walk, etc. CAMERA slowly pans over the entire studio as we see what now looks like after a whole eleven years as it heads towards...

EXT. WARNER BROS. STUDIO – LOT – WATER TOWER

…the good ol' Warner Bros. Water Tower... that has been somewhat renovated somewhere between 2000 and 2012. Instead of its traditional red, yellow and orange paint coating, it now has a clear silver coating along with a bright red rooftop along with a golden-yellow railing. CAMERA begins to close in on the new Water Tower as we...

DISSOLVE TO:

INT. WARNER BROS. WATER TOWER

Inside the tower, everything is pretty much the same. The only thing that's different is the TV which looks a bit busted but other than that, it still looks great. We take a tour of the entire inside from the kitchen to the living room (which are pretty much in the same room) all the way to the bedroom where our three main protagonists are fast asleep on individual beds separated by tiny drawers.

A number of posters of their old cartoons hang proudly on their wall complete with an oversized poster of "Wakko's Wish" overlooking all of them. On the last side stands a display of all the awards they have won from Grammys to Annies to Wilburs. Well, not all of them anyway. One of the Wilburs is missing. The one Dot won for Best Female Toon in a Leading Role. That's because Dot proudly keeps it on the drawer next to her bed and it has made her sleep happily ever since.

DOT: [yawns] ...eat your heart out, Hilary Swank.

Yeah, it's still 2000 inside the tower even though they are fully aware that an entire decade has passed.

CUT TO:

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><p>INT. WARNER BROS. STUDIO HEADQUARTERS<p>

Inside the headquarters, workers are yawning as they try to begin working. Way in a deep hallway, a door opens and BILL KLENT, CEO of Warner Bros. since 2003 steps out fully dressed in traditional business feeling tired but not showing it. He's middle aged, beginning to bald and is beginning to develop bags under his eyes. He heads for his desk which is exactly the same one that Thaddeus Plotz used to sit in more than a decade ago. He finds his coffee waiting for him, cream, three sugars, picks up his phone and dials '6'.

KLENT: Julie, what's my plan for today? Uh-huh? Okay. Well, tell them I'll be in in ten minutes. Thank you.

He hangs up and sits down on the desk, putting his hands on his head and groans in both exhaustion and disappointment as he rummages his own hair. He shakes it off and takes a few huge sips of coffee. He shakes again, picking his moment until he stands up and makes his way to...

CUT TO:

INT. CONFERENCE ROOM

The workers/executives all converse with each other, some either worried or others just talking about their days or anything they've seen or done.

A few seconds later, Klent comes in and everybody stands up.

KLENT: Be seated.

Everybody sits down.

KLENT: Okay, everybody, let's get this underway. I understand it's still early but we might as well get this over and done with. I understand our films are doing well and our television shows are too but it's the animation department I'm worried about. Apparently, not many of the films are doing well as well as the shows, save for _Epic Journey Time_ which is luckily keeping us afloat but I would really, really, really like to expand on that, so please, no soft blows this time. Just somebody, what's the update? How are we doing? Come on, let me have it.

For a moment, nobody says a word. One of the executives looks at a paper and slowly raises his hand.

KLENT: Yes, Wilson.

WILSON: Uh, the ratings on Cartoon Network haven't... exactly been doing as well as we hoped since our last lineup.

KLENT: I am fully aware of that. What's the damage?

WILSON: Uh, well, uh...

EXECUTIVE #2: We lost about 250 to 300 a week and it's still going. By this rate, we may or may not have enough to make more seasons of shows and as for our jobs, [blows raspberry and points his thumb down]

WILSON: Well, we still have _Epic Journey Time_. I mean, we still have fans for that growing everyday.

EXECUTIVE #3: Yeah, but that can only do us so well. I mean we have an over-aged target audience so yes, they'll keep us afloat but if anything were to happen, then there's the possibility that we might lose them as well.

KLENT: So there's nothing we can do?

EXECUTIVE #2: Well... it gets better.

KLENT: What do you mean better? Better as in good or better as in bad?

EXECUTIVE #2: Oh, well then, you might not want to hear this then.

KLENT: No, no, I'm quite curious. You brought it up, might as well say it.

EXECUTIVE #2: Well... another network is currently beating us.

KLENT: Not Disney.

EXECUTIVE #2: Oh, no. We don't have to worry about them. Just Pixar. Um, no, actually, it's a new station. It's been on the air for almost a year now, Fub, Pub, something Ub and... from what I'm reading... oh, you're definitely not gonna like this.

KLENT: What, spit it out.

EXECUTIVE #2: Well sir... turns out they have a show about ponies and it's been ranking in more viewers than our usual timeslot.

Everybody stays silent.

KLENT: Come again?

EXECUTIVE #2: Uh, yeah, I'm not kidding. Here, read this.

He slides the paper to Klent who picks it up and reads.

EXECUTIVE #2: Apparently, they get nearly 200,000 viewers every week and more than that tune in just for the reruns.

Klent just looks at the paper, then crumbles it up and tosses it on the ground making it bounce.

KLENT: Oh, come on! Why didn't I think of that? I didn't know ponies were huge now! I could've done that, we'd be swimming in viewers by now! Do you have any idea how much money we put down trying to update the rest of the Looney Tunes?

EXECUTIVE #4: About 40 million.

KLENT: Thanks for that, Samson.

SAMSON: No problem.

KLENT: And now they hate me for it. Well, what do we do now? We can't come up with a new program, our viewers will kill it before it even goes into syndication. We're gonna need something new, something fresh, something... I don't know, just something that'll make everybody happy. Speaking of which...

He pushes a button and speaks through a speaker.

KLENT: Julie, get rid of all my hate mail... I don't know, burn it! What do I care?

EXECUTIVE #5: [raises his hand] Uhh, sir? I uh, I think I might have a suggestion.

Klent gives the executive an odd look, but dismisses it.

KLENT: Okay, go ahead uhh, who are you?

EXECUTIVE #5: Oh, uh, Ian Stanton. I just started a few weeks ago.

KLENT: Okay, what do you have?

IAN: Well, uh, don't know how you'll respond to this since it's been a while but uh... you know, we could always remove the Warners from the tower.

Everybody looks at him weird.

KLENT: The what?

IAN: You know, the Warners. They've been inside that water tower for the past twelve years, you don't remember?

KLENT: Uh, Stanton, I understand that this is your first time working here but I honestly have no idea what you're talking about.

IAN: The Warner Brothers! You know, Yakko, Wakko and Dot? They've been imprisoned in that Water Tower up there since April of 2000! They use to be big stars here. You never saw _King Yakko_? _The Three Muske-Warners_? Any of those? How about _Wakko's Wish_? Oh, come on, really? None of you?

KLENT: Okay, Stanton, where are you going with this?

STANTON: Well it's quite simple, I want you to remove them and try to get them to save the animation department. I mean if we brought them back, it might make a lot of fans happy and not to mention, you might be able to introduce a new generation of fans through this. Hell, you could make a lot of money just by doing all of this.

Some stays quiet for a few seconds while others whisper to one another.

KLENT: Okay, Stanton, I have no idea what you're talking about but all I know is that that Water Tower has been revamped a few years ago and I never heard any complaints about a bunch of cartoon characters being stuck inside but if you're certain that they're still there... then we'll just have to be sure that they can still perform.

IAN: So you'll do it then?

KLENT: Sure, at this point, we're willing to try anything.

IAN: Oh, thank you, sir! I swear you won't regret it!

KLENT: Okay, okay, moving on-.

**TO BE CONTINUED...**

* * *

><p>Feel free to comment and I swear you'll see more of the Warners in the upcoming chapters and also, I swear I will NOT take more than seven months till the next chapter. I hope you guys are continuing to read and that I haven't lost any readers in that long wait.<p> 


	3. Reminders

"The Warners"

Screenplay

By

Nate Collins

Based on "Animaniacs",

Characters Created By Tom Ruegger

and Television Show Developed and Produced By Steven Spielberg

Note: I am so, So, SO SORRY for not updating as much. I hope many of you are still on here and haven't forgotten about this story. Anyway, I'm gonna continue updating now for the rest of the summer. It's not so easy when you have a new interest in ponies. I hope you guys enjoy this chapter and I hope you all look forward to what's in store for these three next.

* * *

><p>CHAPTER THREE<p>

REMINDERS

INT. WARNER BROS. WATER TOWER – KITCHEN – MORNING

Inside the Water Tower, the Warners who have barely aged, are seated down at the table eating breakfast, well, what's left of breakfast anyway. Wakko slightly munches on a few 'o's on his cereal bowl with barely any milk in there while Dot cuts air with a fork and knife pretending to eat whatever it is that's on the plate in front of her.

Yakko, on the other hand, is busy grunting away as he's inside a television set trying to fix the darn thing. Nuts and bolts fly around as the TV shakes left and right.

A bolt lands on the bowl in front of Wakko. He doesn't care and just shoves it into his mouth. Another one lands on Dot's "food" which catches her attention. She turns around.

DOT: Yakko, you've been fixing that TV for over five years. Don't you think you oughta give it a rest?

Yakko squiggles his way out of the set and closes it up. Once done so, he wipes his hands and heards toward the table.

YAKKO: Not to worry, sister sibling. I'll have that thing up and running-

The screen from the set breaks loose and hits the wall, sparks emerge and a few springs and wires pop through.

YAKKO: … in another few years. [He heads toward the table and sits down] So what's for breakfast?

DOT: Take a wild guess cause I just forgot a few minutes ago.

Dot examines her fork before she sticks it back into her mouth.

YAKKO: Yeah, we have been running low on food, haven't we?

DOT: As well as silverware, plates, glasses, chairs and other assorted furniture thanks to Wakko.

WAKKO: I can't help it if my digestive system is a lot different than you guys. Besides, you're more than welcome to some too.

He tosses the bowl into his mouth and swallows.

YAKKO: I don't think we're gonna get through with just furniture, Wakko. Unless you're Rush Limbaugh, then anything looks edible.

Dot bangs on the table a la a drum.

YAKKO: Besides, we can't get the television going, our radio's been trying to cough up a signal for seven years [radio coughs off screen], and our phone line's been cut off since...uuuuuuuuuuuuuhh, when?

DOT: Eight years. I remember because Wakko tried to eat it but I stopped because I wanted to call somebody so they could fix it.

YAKKO: Oh yeah, that's right. Anyway, there's nothing left to do here anymore and you know what? I think it's time we finally got out of here, don't you think?

Dot cheers. Wakko's face goes from his usual smile to one of disappointment.

DOT: And who knows, it's been over ten years. Maybe they all miss my good old-fashioned looks and styles.

YAKKO: Yeah, and my witty but perfectly harmless banter. What do you think, Wakko? Wakko?

Both Yakko and Dot turn to see the chair empty and Wakko disappearing into the hallway.

DOT: Wakko, where are you going?

No response.

YAKKO: [turns to Dot] Was it something I said?

FADE TO:

INT. HALLWAY

Almost an hour has passed since breakfast and Yakko was walking down the hallway searching for Wakko.

The hallway was surrounded by multiple doors, many of them leading to random places and others were for guests (as if they ever had any).

He stops in front of the double doors at the end of the hallway. He places his ear toward it and hears familiar sounds being muffled.

YAKKO: (sighs) Not again.

He opens them up and heads inside.

INT. SCREENING ROOM

Inside, Wakko sits alone as the projector screens his film _Wakko's Wish_. Wakko had seen it several times and would always be his go to everytime was depressed or unhappy. It was sort of a mix bag for him whenever he would watch it. He'd feel a bit better, yes, but he would go back to being grimy when it would unintentionally remind him of what he went through after he made it. Either way, he now sat there expressionless as he watched both him and his brother try to cross the bridge while carrying a sick Dot.

Yakko walks through the hallway and spots his brother.

YAKKO: I thought I might find you here.

No response.

YAKKO: Mind if I sit down?

Wakko shrugs an 'I don't know' but ultimately gives in. Yakko sits and watches the screen next to him.

YAKKO: Ah, I remember when we shot this scene. How many bridges did we go through again?

WAKKO: Seven. Six not counting the one the hippos almost destroyed in the last shot. Each one cost $10,000 to make and purchase so with seven, it was $7,000. Seven thousand that went into the film's $30 million budget and out of that, we only made $8 million, losing the company $22 million in the process.

YAKKO: Look, Wakko, nobody blames you for that, okay? You're the only one who's still keeping that alive.

WAKKO: But it's all true. Our futures were over as soon as our contracts were gone. I thought if I could do one last thing as the Warners, then there could've been a chance that our careers could've been saved. I didn't wanna leave it all behind.

YAKKO: I know you didn't, Wakko. None of us did. That's why maybe if we go back out there, we can get another chance. And who knows, maybe they'll still remember us.

WAKKO: [softly] We don't deserve to go back out there, not after what happened to us. [He raises his legs and crosses them with his arms like a child.] Sometimes, I wish I never made this movie in the first place, then I wouldn't have to live with this.

YAKKO: Don't say that. You've made an incredibly, amazing film. I should know, we've seen it hundreds of times. I know all the songs by heart, I still laugh at all the jokes, I still even cry at the end, and those memories of us making it are some I'm never gonna forget and I swear, Wakko, I swear that if we do go outside, they're still gonna remember you and your film. Why, I'll bet your films has millions of fans. You know, films like these tend to have cult followings and underground viewings.

Wakko waits a few seconds before turning around to face his brother.

WAKKO: You promise?

YAKKO: Cross my heart and hope to die. So does this mean you'll come with?

Wakko watches the screen again and hears the Goodfeathers crashing into Pinky and the Brain's flying contraption. A chuckle emerges from Wakko.

WAKKO: I'll do it.

YAKKO: Thanks, buddy.

Wakko gets a bit closer and embraces his brother, to which he gladly returns.

YAKKO: Don't worry, everything's gonna be alright. Trust me.

* * *

><p>Will be writing all of next week and all of this summer so don't worry, you shall get more of this story sooner than you think. To those of you who have been patient. Thank you so much, it means a lot to me.<p> 


	4. Escape

"The Warners"

Screenplay

By

Nate Collins

Based on "Animaniacs",

Characters Created By Tom Ruegger

and Television Show Developed and Produced By Steven Spielberg

Note: Hello, again. Thanks for being so patient with me on this story, and I'm glad that it's getting all the attention it deserves with the Story Alerts and whatnots but still, is it too much to ask for more feedback or comments or stuff. I kind of want to know if you all like it or what else I can do with this story and other things. So with that said, I hope you guys are still enjoying this story.

* * *

><p>ESCAPE<p>

INT. WARNER BROS. STUDIO HEADQUARTERS – AFTERNOON

The workers/executives wait outside a screening room for the CEO to step out. They've been waiting there for what feels like forever. Why they're not in there with him, how should I know? It's not like I'm the author of this thing so how the heck do I even know what he's even thinking right now?

Anyway, Klent comes out after a few hours and as soon as they spot him, they begin to follow him. His secretary, JULIE, accompanies him with a pen and paper.

JULIE: So, Mr. Klent, what do you think?

KLENT: It's the greatest friggin' show I've ever seen in my entire life.

JULIE: Oh, I know, sir. My kids watch it everyday. They love that show.

KLENT: I mean, seriously, they're friggin' rainbow-colored ponies, for crying out loud. It's the easiest thing in the world. I could've come up with that if it meant the company would be saved. Julie?

JULIE: Sir?

KLENT: Do you know anything about the Warners?

JULIE: A little, but not much.

KLENT: Well, do me a favor and find out, will you?

JULIE: Yes, sir.

And with that, she leaves and heads back to her desk as Klent continues walking back to his office.

KLENT: God, I hope Stanton's idea works.

* * *

><p>CUT TO:<p>

EXT. CAFE – AFTERNOON

Ian Stanton puts his cup of coffee down as he continues staring at the Water Tower that's a few feet away from him. He has his head placed on his fist as he tries to think how he's going to do it. How is he going to get the Warners out of the tower?

Suddenly, the waitress comes his way.

WAITRESS: Hey, would you like anything else?

STANTON: Nah, I'll just take the check.

WAITRESS: Okay. [She leaves the check on the table] Have a nice day.

He leaves some change for the cup of coffe, gets up and continues to head for the Tower.

CUT TO:

EXT. WARNER BROS. STUDIO – LOT - AFTERNOON

Halfway through, he stops and just continues looking up at it with awe. Even if it is a different color and a tad bit renovated from the last time it was many years ago, it still never stopped to inspire him. In fact, it was one of the reasons he wanted to work here, as well as to possibly make something of himself.

Suddenly, he sees a group of workers having a conversation as they walk towards wherever the heck they're going. He decides to call them.

STANTON: Hey, hey guys! Could you give me a hand here with something?

CUT TO:

EXT. WARNER BROS. WATER TOWER

Stanton and the workers he just recruited are now climbing the ladder of the Water Tower and so far, they're barely halfway there and already they're getting tired.

STANTON: [panting] More than half a century this thing's been here, and nobody ever considers putting an elevator?

WORKER #1: Mr. Klent considered it at one point but he spent the money on something else.

STANTON: On what?

WORKER #2: On that _Dukes of Hazzard_ remake!

Everybody groans in disgust.

WORKER #3: Just keep climbing! We only got 587 steps remaining!

WORKER #1: Don't remind me!

They keep climbing, of course.

STANTON: Do any of you guys have the combination to the locks?

WORKER #2: They should be somewhere in the guidebook! Last few chapters, I think!

WORKER #3: Why are we doing this again?

STANTON: The Warner's have been locked in this thing for over a decade and I'm trying to get them out of here so they can make a comeback for the studio!

WORKER #2: The who?

WORKER #3: You know, those weird figure thingies, made a bunch of cartoons back in the 90s?

WORKER #2: No!

STANTON: Well, you'll get to see them pretty soon! Just hope they're still the same after so long.

* * *

><p>CUT TO:<p>

INT. WARNER BROS. WATER TOWER

Yakko puts on a set of backpacks on each of his sibs as well as football helmets on each of their heads.

YAKKO: Okay, sibs, we've done everything from flooding the Tower with water, popcorn, TNT, to installing an elevator and what not. Now this time, we're just gonna tackle the door multiple times and skydive all the way down to the studio ground. [Breaks fourth wall] What? They can't be all good.

WAKKO: [Still a little unsure] Uh, I don't know.

Dot puts her arm around him.

DOT: Don't worry, Wakko. It'll all be fine.

YAKKO: You got your gag bag, brother?

Wakko goes into his unseen pockets and pulls out the familiar bag, now covered in dust.

I had it locked in a safe all this time. [Blows dust away] I hope it still works.

He reaches into the small bag and pulls out a giant ladder that reaches for eternity (or just until the tower ends).

DOT: You logically would assume that the bag would've been eaten years ago by termites or moths or something but that would just be silly.

YAKKO: Haha, yeah. Logic.

CUT TO:

EXT. WARNER BROS. WATER TOWER

The group has now made it up to the tower.

STANTON: Alright, this should be it. What am I saying? Of course it is. Okay, you guys get to work.

The workers take out their guidebooks and get to work on the safety locks as well as the big one.

CUT TO:

INT.

YAKKO: Alright, is everybody ready?

Dot cheers while Wakko continues sounding unenthusiastic.

CUT TO:

EXT.

A click is heard.

WORKER #1: Alright, we got one.

INT.

YAKKO: ASSUME POSITIONS!

Everybody does so.

EXT.

Another click.

WORKER #2: That's two.

CUT TO:

INT.

YAKKO: Okay, on the count of five…

WORKER #3: And nooooow…..

YAKKO: Five…..

WORKER #3: …4…..

DOT: ….3….

STANTON: …too?

WORKER #1: What, sir?

YAKKO: OOOOOOOOOONNNNNNNNNEEEEEEEE!

All three Warners tackle for the door in a ridiculous manner.

CLICK!

WORKER #3: GOT IT!

All three turn the bolt and the door slowly opens.

The Warners are still tackling with their heads down, helmets facing forward. Dot looks up for a bit and sees the sunlight blinding her but her feet keep moving.

DOT: YAKKO!

YAKKO: What- AAAAHHHHH! IT BUUUUURRRNS!

All three try to screech to a halt but it's no use. They make it outside and into the outer part of the Tower that isn't anywhere safe to stand on.

They look down; still pretty high than the last time they climbed it. They look at each other, then at us. They each hold signs that say, "Help", "Why?" and "I don't care" (guess who that is.) Then commence falling down.

YAKKO: WHHHHHEEEEEEEEEEEEEEEE!

DOT: COWABUNGAAAAAAAA!

YAKKO: Dot, nobody says that anymore. Get with the times.

DOT: Sorry.

They continue falling.

From an WIDE SHOT, it looks like if they're falling in slow-motion as everybody in the studio is now looking upwards at them, each one with a 'what-the-heck' kind of look on their face.

YAKKO: Alright, guys. When I say the word, unleash live saving thingamajigs!

They wait a good fifteen seconds as everyone both on the ground and on top of the Water Tower look at them. Finally, Yakko screams:

YAKKO: NOOW!

All three yank on a cord and each backpack unleashes a parachute, catching them and having them slowly glide their way down toward the ground filled with unexpected people.

WARNERS: TAAAAA-DAAAAAAAAHHHHHHH!

Crickets chirp. Everybody stares confused and with heads tilted.

TO BE CONTINUED...


End file.
